John Steinbeck‘s novel The Grapes of Wrath was published on April 14, 1939. The book, which recounts the struggles of the tenant farmers Joad family moving from Oklahoma to California, went on to win the National Book Award and the Pulitzer Prize. It also helped Steinbeck win the Nobel Prize in Literature in 1962. Steinbeck’s book seeped into popular culture, aided by a great John Ford movie as well as songs.
Less than a year after the novel’s publication, 20th Century Fox released John Ford’s vision of The Grapes of Wrath in January 1940. The film starred Henry Fonda, Jane Darwell, and John Carradine, and it contained some differences from the book, and in particular the ending.
While the book was written as an indictment of the greed that led to the Great Depression, the conservative Ford maintained some elements of that vision while also giving the story a somewhat more optimistic ending. The Grapes of Wrath thus became one of those instances where a novel and its movie version both attained greatness even with some significant differences.
The film would go on to inspire others. In particular, the speech by Tom Joad (Fonda) would inspire both Woody Guthrie and Bruce Springsteen to write songs. Check out our post about the story behind Guthrie’s “Tom Joad,” a song written at the request of a record company during an all-night session after Pete Seeger helped Guthrie find a typewriter.
Bruce Springsteen used his stark “The Ghost of Tom Joad” as the title track of his somber 1995 album. In 2014, though, he released a new version of the song on High Hopes that features the raging angry guitar of Tom Morello, highlighting the defiance in Tom Joad’s speech. While Springsteen’s original acoustic version captures the sadness of the novel, his rock version of the song might be more comparable to John Ford’s vision. Check out this performance featuring Springsteen, Morello, and the E Street Band from Allphones Area in Sydney, Australia from March 2013.
What is your favorite version of “The Grapes of Wrath”? Leave your two cents in the comments.
More than one-hundred years ago this May 26, Marion Michael Morrison was born in Winterset, Iowa. Marion’s family moved to Glendale California when he was six, and he grew up to get a football scholarship at the University of Southern California after he was rejected at the U.S. Naval Academy. But it was his work as an assistant prop man on a film directed by John Ford, who saw something in the man, that helped launch the career you know him for. You might know him by another name, “The Duke.” Or maybe you know him by his other name, John Wayne.
Few actors rise to such iconic status as John Wayne, who stands besides the likes of Marilyn Monroe and James Dean as film stars who became something more, for better or worse. Because of their fame, we often forget that they were great actors too. It is true that John Wayne usually played a certain kind of character and that he became associated with certain political beliefs in his time, but those factors should not distract from the legacy he left with his onscreen performances.
After Ford discovered Wayne as a prop man, Wayne went on to play in B movies for the next decade before he finally got his big break when Ford put him in Stagecoach (1939).
After Stagecoach, Wayne’s career took off and he starred in many classic films, ending with The Shootist in 1976, three years before Wayne died of cancer.
What is your favorite John Wayne movie? Leave your two cents in the comments.
In 1940 after John Ford made John Steinbeck’s novel Grapes of Wrath into a popular film, Woody Guthrie was finding some fame while living with various friends in New York. In the biography Woody Guthrie: A Life, Joe Klein explained that as Victor Records worked to produce a set of Guthrie’s Dust Bowl ballads, the company asked Guthrie to write a song that would capitalize on Grapes of Wrath‘s popularity. (p. 163.)
It was a good fit to have the balladeer who had first-hand experience with the Dust Bowl write a song about a fictional character who experienced it. In the clip below, New York Times film critic A.O. Scott discusses the film.
Writing “Tom Joad”
So, Guthrie went to work on his song. One night Guthrie asked his friend the young Pete Seeger where he could get a typewriter to use to compose the song related to the film. Seeger took Guthrie to the lower East Side to see an artist friend with a typewriter.
Guthrie sat down at the machine with a half gallon of wine and began writing, periodically going to his guitar to test out what he was writing. When Seeger woke up the next morning, he found the song written on the typewriter next to an empty wine bottle and Guthrie passed out on the floor.
The seventeen-verse song summarized Tom Joad’s story. Despite the length, the record company recorded the entire song on May 3, 1940 in its New Jersey studios. Then, the record company had to use both sides of a record to get it to fit.
Guthrie was usually dissatisfied with his songs. But he was proud of this song, saying, “I think the ballad of the Joads is the best thing I’ve done so far.”
The Music from “John Hardy”
Guthrie took the music for “Tom Joad” from an outlaw ballad he had been playing, “John Hardy.” In the clip below, Roscoe Holcomb sings “John Hardy,” where you can hear the music behind Guthrie’s “Tom Joad.”
Holcomb, who grew up in Daisy, Kentucky, recorded a number of traditional songs in the 1960s after John Cohen and Smithsonian Folkways discovered the authentic voice in the Appalachian Mountains.
Guthrie’s Lyrics
While the music of “John Hardy” helped inspire Guthrie to write “Tom Joad,” Guthrie’s lyrics captured Steinbeck’s book and Henry Fonda’s portrayal of Joad in Ford’s film. At the end of all the book, the film, and the song, Tom Joad makes an impassioned speech to his mother. And Guthrie included that key scene in his lyrics.
Wherever little children are hungry and cry, Wherever people ain’t free. Wherever men are fightin’ for their rights, That’s where I’m a-gonna be, Ma. That’s where I’m a-gonna be.”
How “Tom Joad” Inspired Others
While several sources influenced Guthrie, he of course influenced others. In particular, “Tom Joad” influenced Bruce Springsteen making an album about troubled men and women.
Consistent with recent Springsteen comments that he found “fatalism tempered by a practical idealism” in Guthrie’s works, the title track of Springsteen’s The Ghost of Tom Joad (1995) follows Guthrie’s song in capturing Joad’s conversation with his mom.
Now Tom said “Mom, wherever there’s a cop beatin’ a guy, Wherever a hungry newborn baby cries, Where there’s a fight against the blood and hatred in the air, Look for me mom I’ll be there; Wherever there’s somebody fightin’ for a place to stand, Or a decent job or a helpin’ hand, Wherever somebody’s strugglin’ to be free, Look in their eyes Mom you’ll see me.”
It is somewhat amazing that one conversation from Steinbeck’s book has resonated so much for other artists. But the words are timeless.
As long as there are economic inequalities, the words about fighting for the common people will resonate in society. Steinbeck’s version passed on to John Ford who then connected to Woody Guthrie who then connected to Bruce Springsteen. And the line will continue.
Already, Springsteen has passed the Joad mantle onto Tom Morello, who performed a Guthrie song during a May Day protest, and his band Rage Against the Machine.
We do not know who will take it next. But as long as somebody’s strugglin’ to be free, Joad’s words will be there.
Rage Against the Machine’s version of the Bruce Springsteen song sounds a long way from Woody Guthrie’s guitar. But I suspect that if Woody were around today and heard the song’s critique of society’s treatment of the poor, he would be on stage with them. “That’s where I’m a-gonna be.”
{Woody at 100 is our continuing series celebrating the 100th Anniversary of the birth of Woody Guthrie in 1912. Check out our other posts on Guthrie too. }
John Steinbeck‘s novel The Grapes of Wrath was published on April 14, 1939. The book, which recounts the struggles of the tenant farmers Joad family moving from Oklahoma to California, went on to win the National Book Award and the Pulitzer Prize. It also helped Steinbeck win the Nobel Prize in Literature in 1962. Steinbeck’s book seeped into popular culture, aided by a great John Ford movie as well as songs.
, Joe Klein explained that as Victor Records worked to produce a set of Guthrie’s Dust Bowl ballads, the company asked Guthrie to write a song that would capitalize on Grapes of Wrath‘s popularity. (p. 163.)
